Repositório RCAAP

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Este artículo trata de los rasgos paisajísticos asociados al agua en el Jardim Felicidade, un barrio jardín proyectado por Jorge de Macedo Vieira, a comienzos de la década de 1960, junto al margen izquierdo del Rio Pirituba, São Paulo. Los espacios libres relacionados con la presencia del agua, los dispositivos proyectados para le dar salida, las posteriores ocultaciones de los arroyos y el drenaje de los charcos son los focos de interés de este estudio.

Based on the particular circumstances of the southwest region of São Paulo, this article discusses conflicts related to the social production of urban space, describing and analyzing three events in the slums located in this region. These events, treated as descriptive scenes, include: the purchase by a builder of 70 homes located in the Jardim Panorama shantytown; an eviction taking place in the Real Parque shantytown; and an uprising in the Paraisópolis shantytown. By analyzing these events, we infer that the process of evicting the poor from this region is primarily through economic coercion, made possible by the gradual process of privatization of urban management. This process is consolidated by both legality and illegality on the part of the government, the difficulty of publicizing the demands by the poorer population and the transformation of these sectors in the consumer markets.

El objetivo de este trabajo es entender algunos aspectos de la producción de edificios de apartamentos en la ciudad de São Paulo en las décadas de 1940 y 1950, realizada por los primeros promotores inmobiliarios. En aquel momento, los procedimientos de producción habían cambiado, y el mercado inmobiliario se había profesionalizado, con la aparición de un nuevo agente centralizador del proceso: el promotor inmobiliario. Él participa de todas las etapas de desarrollo, desde la elección y compra del terreno, la definición del producto, el desarrollo de los proyectos, las aprobaciones de las agencias públicas, la recaudación de fondos para financiar las obras, la construcción del edificio, hasta la venta de unidades. La escala aumentó, tanto en el número de unidades producidas como en el volumen de construcción, y los promotores inmobiliarios empezaron a invertir en estrategias de inserción en un mercado cada vez más competitivo. El corte cronológico de este trabajo se sitúa entre los años 1942 y 1964, en otras palabras, entre la promulgación de la ley del Inquilinato y la fundación del Banco Nacional de Habitação (BNH). Una de las conclusiones importantes de este trabajo es que, con la creciente profesionalización de los agentes inmobiliarios que participan de este mercado y la búsqueda por proyectos cada vez más baratos, el diseño arquitectónico sufrió una considerable estandarización de sus soluciones espaciales.

This paper discusses the intense relationship between the modern skyscrapers built in downtown São Paulo from the 1930s to the 1960s and their urban space, including their permeability, the ease of access to their interior, and the layout of their architectural program. Their ground floors illustrate the freedom of their design, made possible by separating structural elements from the walls, a basic principle of modern architecture. This freedom ensured new spatial arrangements and a continuity with the building’s surroundings. Taking into account the various factors related to São Paulo urban transformation during the above period, such as opening new avenues and widening existing ones, and the downtown vertical development, one can conclude that the scale of new urban interventions were a determinant in the relationship between buildings and streets, and that these interventions also influenced the emergence of new architectural projects. This research investigates the existing legislation, and the urban and morphological aspects of the architectural projects of a period of great importance in the history of São Paulo.

This paper discusses the preservation of buildings and urban areas with historical and cultural interest, focusing on theoretical learning, which is instrumental for preservation. The main objective is to introduce points for debate regarding which theoretical subjects should guide the practical actions involving the preservation of historical monuments that, in many cases, are unknown or misunderstood. This article emphasizes the importance of theoretical reflection, not only to lay down a field of action for the preservation of cultural property, but also to guide the establishment of a suitable preservation methodology, to ensure that decisions are the result of reasoned and judicious consideration, consistent with the responsibility that permeates preservation, and to ensure the preservation of individual and collective memories inherent in urban centers and buildings. This study does not defend specific theories, but rather recognizes the need for theoretical reflection as an intrinsic part of restoration that cannot be boiled down to technical aspects alone and must be viewed as a historical-critic problem to be addressed.

During the Brazilian colonial era, stones were used locally primarily in construction and stonework, but also, to a lesser degree, as a material for sculpture works supplementary to architecture. While in general the Lioz limestone expanded this use, in Salvador in particular this stone was extensively used in decoration, together with other Portuguese stones. The use of this particular material is illustrated in the São Francisco Church and Convent and investigated in this paper with the purpose of establishing a timeline for these stones. Starting from their European origins – not limited to Lisbon but connected to this capital – the use of these stones takes on a universal character, which also includes Brazil, and which gives us the opportunity to assess the cultural importance and technical tradition of works that enrich our heritage.

The paper discusses the sources of design solutions used by Oswaldo Bratke in the projects for Serra do Navio and Vila Amazonas. The projects were awarded by Icomi in the 1950’s, and distinguished themselves by a careful study and effective solutions related to thermal comfort. Without denying the innovations present in these projects, this article turns to an examination of the source of project and management solutions proposals by Bratke, by highlighting how some of them appear to be closely linked to usual procedures in the history of company towns, which reveal themselves restrictive regarding the autonomy of its residents. It is understood that if Bratke´s project reveals innovative design solutions consistent with the climate and local conditions, on the other side it shows to be extremely conservative about the overall design. It was adopted a rigid social division of space, design strategies to promote segregation of the singles and to avoid concentrations of residents in public spaces, suggested management measures to control the residents´s free time (as promotion of competitions relating to the conservation of houses and gardens, encouraging the cultivation of vegetable gardens in backyards, and so on). Serra do Navio, in particular, was conceived as an isolated community in which contact with “outsiders” should be avoided. In his writings on the two projects, Bratke shows sympathy for the strict discipline which is common in settlements of this kind, recommending only that the company exercises discreetly its controls. This attitude and the design and management procedures proposed by Bratke, are supported by his belief in a civilizing action in the jungle as a result of Icomi´s politics, based on a notion of “city” as a clean, orderly and safe place.

En este artículo se analiza la estructuración de la actividad turística en el ámbito de las políticas públicas federales. El análisis de los documentos legales sobre esa actividad revela su madurez ante la reestructuración política y económica reciente por la cual pasa el País, en la que se ve un ambiente favorable al desarrollo de esta actividad. La importancia de las políticas públicas federales de turismo, como un elemento facilitador para generar divisas para el país, ha repercutido, por un lado, en la evolución de la demanda turística internacional y nacional, y por el otro, en el esfuerzo del Gobierno Federal en sistematizarla, sea para comprender su contribución en la generación de empleo e ingresos, o para evaluar el tamaño de la oferta. Después de más de 40 años de la promulgación de su primer estatuto, es la primera vez que se considera el turismo en Brasil como un importante generador de divisas, empleos e ingresos, lo que haría inminente la regulación del sector de una manera más contundente y planificada. Esta situación se ha expresado en un primer momento por la creación del Ministerio del Turismo, en 2003 y, más recientemente, a través de la promulgación del Decreto n. 7.381, de 2 de diciembre de 2010, que reglamenta la Ley 11.771, de 17 de septiembre de 2008, la que establece disposiciones sobre la Política Nacional de Turismo y define las responsabilidades del Gobierno Federal en la planificación, desarrollo y estímulo al sector, estableciendo, de una manera sin precedentes, el registro obligatorio de los prestadores de servicios turísticos en el Ministerio del Turismo. El artículo está organizado en tres partes: la primera trata de las iniciativas para reglamentar ese sector de la economía, aún en los años 1960, y tiene la Embratur como su marco principal; la segunda, ya en los años 90, presenta el Prodetur como una importante política pública para promover la infraestructura turística y la celebración de alianzas público-privadas; y la tercera, ya en este siglo, presenta la estructura actual del sector, a través del logro de los Planes Nacionales de Turismo.

This study identifies and analyzes interactions between sacrifices, architectural cosmogonies, archaisms and contemporaneity. The starting point is a Rudyard Kipling tale, and the main goal of the following considerations is to highlight the historical links that appear in the contemporary production process of urban spaces and architectures, which reaffirm the essential interaction between technology, poetry and imagination.

El Taller Total de la Facultad de Arquitectura y Urbanismo de la Universidad Nacional de Córdoba, Argentina, fue una propuesta de enseñanza considerada de vanguardia, que ha vigorado entre los años 1970 y 1976. Se discute esa experiencia, como parte del debate sobre enseñanza de Arquitectura y Urbanismo que perpasó por las décadas de 1960 y 1970, y que revalorizaba el pensamiento de la Bauhaus. El taller se ha desarrollado bajo tres premisas fundamentales: la Arquitectura es un campo de carácter prioritariamente social; su enseñanza debe ser fundamentada en el análisis de la sociedad y sus necesidades; su gestión debe ser democrática y participativa.